Chromatic Harmonica Links

Toots is everything…beautiful, saturated tone, artistic interpretation to bring tears to your eyes. We can’t make him a MASTER OF HARMONICA yet, have to give him something to work for!

Recordings are an uneven group, you’ll love some, others not so much.

His musical journey is a journey into excellent taste, and masterful musicianship.

God bless Toots.

He retired from performances on 3/12/14, at 91.

Bluesette

From Wikipedia: Toots Thielemans (born Jean-Baptiste Frédéric Isidor, Baron Thielemans, 29 April 1922, Brussels, Belgium) is a Belgian jazz musician known for his guitar and harmonica playing as well as his whistling. Thielemans is credited as one of the greatest harmonica players of the 20th century. He has worked as a bandleader (scoring an international hit in the 1960s with his song “Bluesette“)….

From Wikipedia: “Smile” is a song based on an instrumental theme used in the soundtrack for the 1936Charlie Chaplin movie Modern Times. Chaplin composed the D minor music, while John Turner and Geoffrey Parsons added the lyrics and title in 1954.[1] In the lyrics, based on lines and themes from the film, the singer is telling the listener to cheer up and that there is always a bright tomorrow, just as long as they smile. “Smile” has become a popular standard since its original use in Chaplin’s film.

Larry was a showman with an impresario’s approach to playing. He presents arresting technique after technique in a non-stop fashion, which some interpret as frenetic. At times, his work comes across as overdone and heavy on showmanship.

He was adroit, energetic, passionate, and a showman of consequence.

Which is not to say he was not a superb musician, he was, and he was a credible composer, some of whose material is still in the repertoire.

He was the dominant force in harmonica in the 1930’s and 1940’s, was a Hollywood fixture in stylized movies, and produced many CD’s, a large number of which are still available.

His style often seems overdone, that of an exhibitionist, and he suffers from the malady of over application of “technique” for technique’s sake, but at times the music itself suffers from his overuse of dramatic playing technique.

All technique is not good… all the time.

There was a time when Adler’s name was THE name in harmonica, and not just in the U.S..

Adler is not placed in the category of MASTERS OF HARMONICA, but a strong case can be made that he is, or was.

When comparing his body of work with the MASTERS OF HARMONICA, I believe you will find the MASTERS displayed a more compelling artistic interpretation of music overall, with more measured balance of the various values inherent in musicianship.

This is a matter for deep thought and consideration, as it touches on the core values of music, and I am comfortable with those who say he most certainly was a MASTER OF HARMONICA.

He got a long post here, he deserves it.

Youtube posting of his performance of SCREWZ BLUES (term inmates in prison use for guards)

He looks great, he plays the right notes, and plays with some of the best ensembles and orchestras in performance. Some say he would benefit from classical voice training to develop a better understanding of artistry, and appropriate use of vibrato, which at times some see as pedantic.

Tollak was born in Seward, Alaska and grew up in Seattle WA.
After getting his start in the club scene in Seattle he moved on to Los angeles where he developed the signature sound that he has become known for. Stevie Wonder was his early harmonica hero, but Toots Thielemans was an inspiration too, and Toots himself has said of Tollak that in spite of his big influence from Stevie that he really has “his own thing”.
It wasn’t long before many artists and producers took notice of this, and Tollak’s list of credits bears witness to that.

Incredible rich tone, with an unusual interpretation of musical sound. Worth a careful listen, you will hear many approaches to notes and phrases which are unusual. It’s gratifying to see excellent players developing their own sound, which he definitely has done.

“I’ve been playing harmonica off and on for about forty years. It started when I was a teenager (my mother gave me a Marine Band in a Christmas stocking). I played in rock bands, copped all the Paul Butterfield licks I could, but never took it real serious. I was studying drums and vibes and learning how to play jazz.”

“I knew about Toots but jazz harmonica never really got me until I heard him live at Keystone Korner, San Francisco in 1978. I distinctly remember going home that night and practicing scales and attempting jazz tunes, it was a real epiphany and playing jazz on the chromatic harmonica became a focus of my musical life. Even though I consider the harmonica my instrument, I’m better known in the SF Bay Area as a vibes player and since there’s more call for jazz vibes than jazz harmonica, vibes are what I usually play.” Jon Eriksen

Jon has been performing and recording in the Bay Area for the past 35 years and his credits include: Johnny Mathis, The Mills Brothers, Roger Williams, The Spinners, Liberace, The San Francisco Symphony, The Jofferey Ballet, Lola Falana, Bobby Vinton, and Art Van Damme. Jon is also a first-call studio player with commercial, movie and record dates too numerous to list.

A truly mind boggling performance due to the world classic artistic mastery at London’s Royal Albert Hall by what must be considered as one of the finest chromatic harmonica players of all time…Philip Achille. Phillip began with classical music, but has gravitated more to Jazz. Lives in Paris.

This video changed how I viewed the potential of the chromatic harmonica early on in my studies, and raised the bar of expectation of my own playing. I think it will do the same for you.

Oh dear, I hate to say this, but I believe this particular video actually has a prerecorded sound track, but no matter, it is his playing and will open the door for you to what I consider perhaps the finest harmonica player of all time.

His nuanced interpretations and sensitive artistry set amongst the elite of the classical music world set a standard which is seldom equaled, and honestly I’m not sure has ever been exceeded. A student at the Leipzig Conservatory of Music in Berlin, he was arrested and imprisoned in a German prisoner of war camp for the duration, where he played harmonica day and night.

He emerged as the world’s premier player, and did the same thing for harmonica which Segovia did for guitar…make the harmonica a concert instrument respected by the finest musicians and composers worldwide.

His boundless talent and professionalism melted many a composers’ predisposition against taking the harmonic seriously, with the result they became “Reilly” adherents, saying to their doubting agents, “He can play any piece of mine at any time.”

Every recording is a cherished masterpiece, but especially so the recording, SERENADE, with The Academy of St. Martin-In-The-Fields Chamber Ensemble, available on CD on Amazon.

What you will hear on this Youtube post is an entirely new and superior approach to artistic phrasing, and tonal control of the chromatic harmonica. And we should expect no less from this savant, who taught music at the International Conservatory of Music in Paris. Now deceased. Top players worldwide have nodded to this great musician, expressing their view he represents the highest pinnacle of artistic interpretation of harmonica in history. I leave the final decision to you.

The Suzuki Magic Garden harmonica was developed with his input and bore his name.

This Argentine wonderkind overcame childhood blindness at 5 years old after being hit in the head with a soccer ball, he regained sight, to become a player of world shaking singularity. Accepted by the world’s top musicians as one of their own, his guttural larynx staccato notes and facile scale mobility are beyond description. One must hear it to grasp it. He is a master of harmonica in every sense of the word, and you’ll find many CD recordings of his on Amazon, with many Youtube postings. Enjoy them all.

NON-HARMONICA MASTERPIECES OF JAZZ

MILES DAVIS & JOHN COLTRANE

SO WHAT

One of your most valuable resources to learn about artistic interpretation of jazz, and some of the tonality options you have is to review the recordings and videos of the best jazz greats.

At the top of this list is Miles Davis on trumpet, and of course this includes John Coltrane on tenor sax here, playing their worldwide 1959 hit, “SO WHAT.”

You will hear a sophistication of playing unique to music in what can accurately be described as Miles Davis’s prime, before the effects of heroin addiction eroded his performance chops.

The improvisation lines are exquisite, making this a clear example of the best of the best. You will hear many tonal variations from Miles which you can approximate on your chromatic harmonica. Not that it will sound identical on harmonica, but you can approximate the “feel.”

Those who fall in love with this sound will want to secure the 4 CD set, THE COLUMBIA YEARS, which includes most of Miles Davis’s best work, recorded as the title of the 4 CD set’s title suggests, in the years he recorded with Columbia. This set will provide you many hours of play along pleasure, and go ahead…play along with them, the tempos are doable for some beginner and most all intermediate players.

And you can say you played with Miles Davis and John Coltrane, then wink and say, “Played along with their CDs, of course.”

Now don’t laugh, that’s how the lovely Diana Krall developed her jazz chops, and then later when famous, performed gigs with these same recording greats.

Before James Dean, there was the beginning of our modern paradigm called “Cool,” and no performer epitomized this style like Chet Baker. Another victim of heroin addiction, Chet had a sound and artistic interpretation to music so beautiful, and so essentially classic, that his recordings after his death have eclipsed his considerable sales while living by a large margin.

He ignored the be bop trend, and stayed most of his career with what are termed slow ballads of jazz standards.

His phrasing is haunting, his awareness of pitch without comparison, and his trumpet playing was equally powerful. His voice and his trumpet speak as one. Note that he is aware of, and manages his distance from the mike to control the overall sound, not just volume.

Among standards, My Funny Valentine is played in some form by just about every musician who touches the idiom. This is one of the best renditions in history.

He was handsome, vulnerable, and he chased the next fix until he died an addict’s lonely death.

He wasn’t Miles, and Miles wasn’t Chet. I don’t try to compare. Two bright stars.

STAY AWAY FROM DRUGS…they will destroy your instrument, and the instrument I refer to is… YOU, in time. Don’t start, and if you do… get into treatment.

The pressures of a professional career in music are many, hold to the values of family and loved ones and stay grounded. Do for others often, and keep clean.

Steve Malerbi could as easily be listed in our performing artists list as here. He is a renowned performer on harmonica, and drummer, and technician extraordinaire…who did quite a bit of customization of instruments for years INCLUDING changing the shape of the harmonica covers which is a pet interest of mine.

The cover on a harmonica acts like the bell of a trumpet, and it’s shape and distance from the reeds greatly affects both volume and tone, giving you a broader tonal color palette.

I expect to see the day when Suzuki offers a custom cover set for the Sirius and SCX models (why not a 3-pak) as various covers give different sounds, and people enjoy different colors on their covers too…so why not?

Again, Steve is one of those individuals who is a challenge to categorize because his talents are so diverse. You can read about him and hear his music at the link below, but also visit the pages on the other musicians on the site…all participants in the WEST COAST JAZZ HARMONICA SUMMIT…somewhat of a who’s who in that region. (You must hear Michael Polesky’s clip on this site…promise me?)

An exquisite example of a well-controlled, smooth and even larynx-glottis vibrato

Fully saturated notes, excellent breath control. Note the slow tempo of the vibrato & evenness of the pitch variation…which is more difficult/ note also some notes have vibrato and others to do not…again the mark of an experienced musician

A good example of a very obvious combination of lip vibrato and larynx-glottis vibrato, used at the same time in a performance. It is not seen that often. By changing the lip’s angle and cover of the mouthpiece hole, an effective vibrato can be created, or as is this case, enhanced.

It is very common to see performers mix the 5 types of vibrato in performance, or in the studio.

Of the 5, only types of vibrato, only two actually involve pitch variation: larynx-glottis and lip vibrato.

The other three types of vibrato (diaphragm, embouchure, and hand vibrato) create an impression of vibrato by changing the tonal coloring or total harmonic footprint of the note…but there is no actual “pitch” variation.

For this reason, some musicians and musical scholars do not count the last three as vibrato.

I most certainly do count them as vibrato because they most certainly ARE perceived by the human ear as vibrato, and there are occasions when you want a vibrato effect but must stay on the same pitch…which can happen when playing with an orchestra, for example.

eBooks / CDs

Best Sellers

NOTE: We DO NOT get a % of income on sales from folks we recommend, recommendations are based on our view that the materials, in this case…books & CDs, are excellent and will be help to you in your quest/journey to create beautiful music.

David Kettlewell

Host of MASTERSOFHARMONICA.COM

(end of Sher Music information)

“A CREATIVE APROACH TO MUSIC FUNDAMENTALS,” by WILLIAM DUCKWORTH.

William Duckworth’s theory books are the leaders in the field of texts on basic music fundamentals and theory in academia, and used extensively in University programs nationwide, and in some cases, worldwide.

My favorite is the Sixth Edition (1998), which you can get for about $9 on Ebay. But most of the additions will do, this just happens to be inexpensive.

This books explains just about everything you’ll want to know in your first 5 years of enjoyment of the chromatic harmonica about music fundamentals…although this is a general music theory book, and there is no mention of harmonica.

But…it’s fun to read and you’ll learn all about how to enter that wonderful world of learning to read music….notes, lines and spaces, and time signatures, and scales, and modes from medieval times, and minor chords, and major chords, and diminished and augmented chords, and 9th chords and 11th chords, and intervals, and there’s enough here to keep you fascinated for some time.

And it’s easy to understand…he’s opened the door to the love of reading music for probably millions.

It feels good in the hand and the writing style is very easy and enjoyable.

William died recently, and he will be sorely missed.

Armed with Max De Aloe’s book from Sher Publishing, METHOD FOR CHROMATIC HARMONICA, and Duckworths’ music fundamentals text, you have the foundations for successful study of chromatic harmonica…with the best of the books I know of.

TALKING MUSIC by William Duckworth is another of my favorite books he wrote. It’s a series of conversations with musicians engaged in eclectic modernist sounds, but the stories are absolutely captivating. You can find this on Ebay used as well, usually for around $10.